I got the Arri Light Kit from my partners at Blue Juice Films, Inc. and was finally able to find some time last night to film the miniatures.  I shot a bunch of different versions of the triplane turnaround, and ended up using the last one.  I turned it slowly, so that I could just speed it up as need in After Effects, and that plan worked well.  I’ll have to actually work out the right timing when we film Anastasia as the pilot, but that’s still a ways off.  I managed to line up the timing of the actual camera move around Pupsock, the faked camera move (achieved by having the triplane on a turntable), and the virtual camera move across the clouds to reveal the pirate ship.  After chugging through a shuttled preview, I finally feel confident that this shot is going to work!  There’s still a LONG way to go, though.  Here’s an incomplete list of things left to do for this one shot:

• Stabilize the footage of Pupsock
• Lock Pupsock in place on the wing of the triplane
• Get a perfect chroma key on Pupsock, rotoscoping as necessary
• Get a perfect chroma key on the triplane, rotoscoping as necessary
• Find just the right shot of the pirate ship
• Get a perfect chroma key on the pirate ship, rotoscoping as necessary
• Finalize the virtual camera move
• Figure out how to create wake in clouds generated by Trapcode Form
• Film Anastasia in pilot costume (need to get pilot costume)
• Lock Anastasia in place on the triplane
• Get a perfect chroma key on Anastasia, rotoscoping as necessary
• Color correct everything
• Put light spill on everything
• Final color correction

So, yeah, everything is coming along nicely…….

In other news, Adam finished editing a first pass of the non-pirate-ship scenes, and it looks pretty OK.  First cuts always are a bit weak, especially when one of your main characters doesn’t exist yet.  Very cool to see it together, though!

Also, I started a new blog.  I was accepted to Animation Mentor, the Online Animation School, and am very excited about it.  I start on June 29th, and would say that I can’t wait, except that I have a pitch reel to get finished before then. So I can wait.   Though, maybe if I overlap the start of school with the finish of the pitch reel I can get feedback on my Wendell shots from my mentor.  Hmmm….  Anyway, AM encourages its students to keep blogs of their progress, so I went ahead and started mine.  It’s a bit frustrating being in the nebulous phase, post-acceptance, pre-class 1.  I wanted to know everything that was supposed to be happening between now and then, and unfortunately not too many blogs had any information about this. So I started mine, and am trying to keep detailed information about the waiting period on it.  It can be found here, if you’re interested:

http://animationmentorblog.wordpress.com/

Still working on the Pitch Reel when I can, though with two kids and overtime at the day job (plus trips across the country) I still am not getting to it as much as I’d like.  However, tonight I finished painting the miniature for the triplane that Pupsock will be riding.  I’ve never done anything like this before, and it probably shows, but I think I did a pretty good job.  I spent a while studying painting techniques, and then spent a couple of days studying photos and footage of actual triplanes to see how they naturally wear as they age.  Then, I put my newly-acquired painting knowledge to work trying to imitate the same wear and tear.  It was a good feeling watching it all come together and look something like what I had in mind.  I’m sure a model expert would have several issues with it, and I’d love to hear what they are and how they’d go about fixing it.  Best way to learn.

I’ll let it dry tonight, and then hopefully I’ll get to film it before the day job sends me to Alaska on Monday.  Then I’ll really be able to tell if I did a good job or not.

Work on the Pitch Reel is proceeding slowly but surely.  I’ve hit a period of winter inspiration, and suddenly have a half dozen different projects I want to work on, and so am having trouble focusing on just one.  I’ve whittled it down to 2 main ones, the Pitch Reel being the most important, followed closely by writing a game engine.  I also have a couple of things I want to write, and I promised a friend I’d do some motion graphics for him.

I actually have 3 games I want to write, one of which is a Pupsock & Wendell adventure game that would flow well with the brand.  Another is fairly original while still fitting precisely into a well-established genre that I think I could make some money with.  The last is a remake of a game I did in college, and I would only do that because it would be fairly simple to do and would provide a nice framework to test out my engine, and it would allow me to see how far I’ve come as a programmer since 2001.  Looking back through my old code while developing this new engine has shown me that I’ve come a very long way.

So, with all this going on, I’ve had to schedule my time pretty precisely as far as what project I’m allowed to work on on what day.  This rotation of projects allows me to actually get things done on each project, and prevents me from getting burned out on any one thing.  Tonight is tie-up-loose-ends night, where I can work on whicever project has a step that’s really close to getting finished that I just couldn’t wrap up in the allotted time slot.  So, I’m working on Pitch Reel.

This first shot (yes, I’m still on the first shot) has so many subtle things going on in it.  I’ve had to model a CG door, sandwich it between two live-action layers who’s timing has to match up, and have Pupsock open the door.  On the other side of the door is a bunch of crazy action, and some of the puppeteers and puppet equipment ended up being visible for a few frames, so I’ve been doing a lot of painting frame-by-frame, and playing with timing, and working on making the door look right, and getting the door animation right, and adding shadows, and hand rotoing Pupsock’s white hat against the green screen, and adding lens distortion to the door, and color correcting, and so on.

Looks like the latest door render has finished, so I better get back to it.

After a few days off to celebrate the new year (and storyboard), we took back to the camera and filmed the remainder of the LITTLE DREAM ENGINE Pitch Reel on January 3rd & 4th.  It was probably the most ambitious thing I could have written, given that it would have to be in front of the cameras within 10 days of my having written it, but my team pulled it off.

Tom, the Producer, started making calls and secured the three locations we needed very quickly.  He got us a movie theatre (thank you, Premiere Oaks 10 in Melbourne, FL), an old-timey Sam Spade-style office (thank you Spectre3D, Inc.) and a green screen stage (thank you, Tight Line Productions, Inc.) to stand in for the Air Ship.  This is in addition to getting craft services, DP’ing the film, getting extra crew in, and the million other things a Producer does that I don’t realize.

John Kennedy came through with all of the villain puppets, including a group of Air Pirates and a 12-foot tall Goliath to serve as the main villain (you can see him in the pictures from my previous post).  John is a very talented puppeteer, who has performed almost all of the Muppets at various times, such as Sam the Eagle in A VERY MUPPET CHRISTMAS, and Fozzie Bear in MUPPETS FROM SPACE, and has performed Elmo’s Right Hand for many years on SESAME STREET.  We became friends last year, and I got to work on a couple of his shows, and he agreed to help me out with this Pitch Reel, even performing Pupsock during the theatre shoot.

Jamie Donmoyer, who built Pupsock and performed most of his scenes on GALLERY OF DOOM, came back for the weekend shoot to lend her brilliance to the character once more.  She only had a limited time off for the holidays, and I’m honored that she spent some of it with us.

Kevin McGuire  was a big help, and a presence whom I’ve sorely missed on previous shoots.  We did so many films together in college, and then life got in the way and he wasn’t around much.  Finally he rejoined us for this shoot, having been reminded how much fun it is after having done a day on GALLERY OF DOOM and assisting me on THE SURE SHEEP.  He was there every day, took on any task we gave him, and always did a great job with a positive attitude.

One of Tom’s friends whom I hadn’t met before, Josh Malyn, swiped his fiancee’s brand new DSLR camera and was there for the whole shoot taking stills for us, and taking videos when the battery left the land of the living.  We posted the pics from the first night, as linked to in my last post, but haven’t gotten the others ones up yet, as we’re still recovering from the shoot.  I’ll let you know as soon as they’re up.

HAPPY NEW YEAR!

Kevin McGuire here, voice of Pupsock Jackson.  Patrick and I have been in Palm Springs for almost 3 days now, and this is the first opportunity we’ve had to post updates.  First let me say that the screening on Saturday morning was great.  The theater was full, although there were not many children in attendance.  The audience reaction was overall great even though the copy was a little dark on the big screen.  The rest of  Saturday included Bill Pullman, Kirsten Dunst, and Jessica Biel…although I did not officially see Jessica.  I delve into that a little later.  Patrick owes me dinner and the BBQ ribs are calling my name.